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A CATALOGUE OF SOME OF THE 
PAINTINGS OF THE BRITISH 
SCHOOL IN THE COLLECTION OF 
HENRY EDWARDS HUNTINGTON 
AT SAN MARINO, CALIFORNIA 


By MAURICE W. BROCKWELL 


1925 
PRIVATELY PRINTED 
NEW YORK 






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PREFATORY NOTE 


L- the charming little city of Pasadena, near which 
San Marino, Cal., is situated, really derives its name 
from the Chippewa Indian language and justly signi- 
fies the ““Crown of the Valley,’ then it may without 
further ado be conceded that the estate, the gardens and 
the buildings of Mr. Henry E. Huntington grace the 
whole country-side. Strange as it may seem, the resi- 
dence was not begun until 1909, and the Library even 
later. If the literary treasures contained within the latter 
are paramount, the works of art housed in the former are 
no less outstanding in their importance. It must not, 
however, be imagined that Mr. Huntington’s artistic 
acquisitions have been limited to the study of eighteenth 
and early nineteenth century British paintings. Yet, even 
in that field, his enterprise has been wide-reaching and 
his expenditure lavish, as all the world knows. 

It is to be hoped that some indication of his pur- 
poseful endeavour and princely achievement may be 
revealed by a close study of the following pages. 


Maurice W. BrockKweELL. 


London, 1924. 


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LIST OF PAINTINGS 


{Arranged and numbered in order of position on walls.} 


. Portrait of Mr. H. E. Huntineton, Frontispiece 
. Mrs. Jeremiah Milles . 

. Mr. Jeremiah Milles 

. Mrs. Siddons as ““The Tragic Muse” 

. Diana, Viscountess Crosbie 

; Penelope. Viscountess Ligonier . 

. Edward, Viscount Ligonier 

. Jane, Countess of Harrington 

mites Edwin Lascellés, 2 

. The Hon. Mrs. Cunliffe Offley . 

. “Little Red Riding Hood” 

weet ne Bluc Boy’: - 

the Cottage Door” ; 

. “The Young Fortune Teller”. 

. “The Marriage of the Adriatic” . 

. Lady Beauchamp 

. Mrs. Ralph Willett 

. Anne, Duchess of Crmbedande 

. Juliana, Lady Petre 

. Frances, Marchioness nen 

. Mrs. Meare / 

. Mrs. Henry Bemiog : 

. Lavinia, Countess Spencer and her Sor 
. Mrs. Bedford and her Son 

. Mrs. Penelope Lee Acton . 

. “The Beckford Children” 

. Mrs. Susannah Lee Acton . 

. Master William Blair 

. Emma, Lady Hamilton. 
. Lady Caine and Lady Hizaberh Syne: 

. Georgiana, Duchess of Devonshire . 

. Charles Frederick Abel . 
mvirs..rancis: Burton. 91 , 
. A View on the Stour, Near enters 


Oswald Birley, M.C. 
George Romney 
George Romney 


Sir ahi Reynolds, P.R.A. 


Sir Joshua Reynolds, P.R.A. 
Thomas Gainsborough, R.A. 
Thomas Gainsborough, R.A. 
Sir Joshua Reynolds, P.R.A. 
Sir Joshua Reynolds, P.R.A. 


. Sir Thomas Lawrence, P.R.A. 
Sir Thomas Lawrence, P.R.A. 


Thomas Gainsborough, R.A. 
Thomas Gainsborough, R.A. 
Sir Joshua Reynolds, P.R.A. 
JaMaWw Turner, RA: 
John Hoppner, R.A. 

George Romney 


Eihantcameneruch! ReA. 


Thomas Gainsborough, R.A. 
Sir Joshua Reynolds, P.R.A. 
Thomas Gainsborough, R.A. 
Thomas Gainsborough, R.A. 
Sir Joshua Reynolds, P.R.A. 
. John Hoppner, R.A. 
George Romney 

George Romney 

George Romney 

Sie Henry Raeburn, R.A. 
George Romney 
George Romney 


He Joshua Reynolds, P.R.A. 


Thomas Gainsborough, R.A. 
. George Romney 
John Constable, R.A. 


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PAINTINGS 
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HENRY EDWARDS HUNTINGTON 


BY 


OswaLp Birwey, M.C. 





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No. 1 [Frontispiece] 
HENRY EDWARDS HUNTINGTON 


BY 


OsWALD BIRLEY, M.C. 


( Contemporary ) 


HREE-QUARTER length, seated erect, turned three-quarters to the left, 
looking at the observer; wearing a black coat, morning dress; his hands 
placed before him. Grey background, suggesting a panelled room. 


Henry Edwards Huntington, the son of Solon Huntington (1812-1890) by 
his wife Harriet Saunders (1821-1906), was born at Oneonta, N. Y., February 27th, 
1850. He married, on November 17th, 1873, Mary Alice Prentice, by whom he had 
one son and three daughters. He married, on July 16th, 1913, Arabella Duval, 
widow of Collis Potter Huntington (1821-1900); she died in 1924. 


Henry E. Huntington, at the age of 17 began life in a hardware business in 
Oneonta, obtaining two years later a position in a wholesale hardware store in New 
York City. Shortly afterwards he was employed by his uncle, Collis P. Hunt- 
ington, at St. Albans, W. Va., in connection with work for building the Chesa- 
peake and Ohio Railroad. In 1880 he began his active and eventful career in rail- 
road building and management, several lines in time coming under his direction. 
On the death of his uncle, Collis P. Huntington, in 1900, that gentleman’s vast rail- 
road interests came under the control of Henry E. Huntington. The latter in time 
turned his attention to shipbuilding, real estate and electric railways, acquiring 
control of the street railroads in Los Angeles, Cal., and constructing the elaborate 
interurban electric system now operating in Southern California. His industrious 
activities in connection with the Southern Pacific Railroad and other kindred enter- 
prises will long be remembered. Mr. Huntington has received the honorary 
degree of LL.D. from New York University, University of Southern California, 
University of California, and Occidental College of Pasadena, California. He is 
an honorary member of Phi Beta Kappa fraternity (College of William and Mary, 
Williamsburg, Virginia). 


An ardent book collector for the last half-century, he has formed the finest 
library in private hands in the United States. His collections in the field of Ameri- 
can and English history and literature are the most important in this country, his 
incunabula are pre-eminent, and his Shakespeares take precedence over any other 
collections in the world. 


Canvas, 50 inches by 40 inches. Painted 1924. 
Exhibited at New York, Duveen Galleries, 1924. 





MRS. JEREMIAH MILLES 


BY 


GEORGE ROMNEY 


MRS. JEREMIAH MILLES 


BY 


GEORGE ROMNEY 
(1734-1802 ) 


ULL length, standing towards the left, her eyes to the spectator. She wears 

HK a loose, low-cut white gown, blue sash, and a red velvet cloak which is 

thrown back, and white satin shoes. She leans her right arm on a pedestal; 

her left hangs by her side. Landscape background to the left; trees in the right 
background. 


Rose Gardiner, of Pishobury, Sawbridgeworth, Hertfordshire, was born in 
1757. She married Jeremiah Milles, of Pishobury, by whom she had a daughter 
Rose, who, 10 May, 1826, married Rowland Alston, Esq., of Sharnbrook, who, 
born 7 June, 1782, was M. P. for Hertfordshire, 1835, and who served in the 3rd 
Guards with the Expedition to Copenhagen, 1807. She died 21 May, 1835, aged 78. 


According to ‘““Romney’s Memoirs,” published in 1830 by the Rev. John 
Romney, the painter’s son, this portrait, together with that of Mr. Jeremiah 
Milles, appeared bracketed together and the date “1783” was written against them. 
From this it may be inferred that the portraits were commenced in 1780, as the 
record of sittings shows, and that they were finished in 1783. 


These companion pictures, together with a portrait of Miss Harriot Milles, 
a sister of Mr. Jeremiah Milles, reached the country house of the Milles family at 
Pishobury just before the death of Mr. Jeremiah Milles in 1786. Mrs. Milles 
refused to have the pictures unpacked; they were, therefore, put away in the lumber 
room and they remained there until her death in 1835. They were then all sent to 
Bycullah Park, Enfield, where they were for the first time hung. In the course of 
time these companion portraits passed to Rose Milles, who had married Rowland 
Alston, Esq. Subsequently they became the property of one of their sons, Sir 
Francis Beilby Alston, K.C.M.G. 


Canvas, 93 inches by 57 inches. Painted 1780-1783. 
Exhibited at Burlington House, 1875, No. 264. 


Acquired from Sir JOSEPH DUVEEN. 





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MR. JEREMIAH MILLES 


BY 


GEORGE ROMNEY 


No. 3 


MR. JEREMIAH MILLES 


BY 


GEORGE ROMNEY 
(1734-1802) 


ULL length, standing, in a landscape. Dressed in an old gold-coloured coat 

HR and knee breeches, red velvet gown thrown back, white neckerchief and 

cuffs and white stockings. Leaning his left arm on a pedestal; in his left 

hand he holds a partly open book in which is inserted the index finger. His right 
hand on his hip. 


Jeremiah Milles was the eldest son of the Very Rev. Dr. Jeremiah Milles, 
Dean of Exeter, an eminent archeologist, and for several years President of the 
Society of Antiquaries, by his wife Edith Potter, a daughter of Dr. Potter, Arch- 
bishop of York. Dr. Milles died 13 Feb., 1784. 


Jeremiah Milles was born in 1751. Matriculating at Oxford in 1768, he was 
elected a Fellow of Merton in 1775, and was called to the Bar at Lincoln’s Inn in 
1776. He died in 1786. He had two brothers, Thomas (born 1751) and Richard 
(born 1754); and two sisters, Harriot, who (born 1757) refused an offer of marriage 
from the Sixth Duke of Beaufort, and survived until 1822; and another sister who 
married a Captain Blake. 


Jeremiah and his two brothers are mentioned in the Early Diary of Frances 
Burney, 1768-1778, Vol. 1, pages 234 and 243, in the notes of which the authoress 
inadvertently calls Jeremiah “‘James’’. 


Jeremiah Milles married Rose Gardiner, by whom he had a daughter, Rose, 
who, 26 May, 1810, married Rowland Alston, Esq., of Sharnbrook. The portrait 
of Mrs. Jeremiah Milles, also by Romney, is in this collection. 


Canvas, 93 inches by 57 inches. Painted 1780-1783. 

Exhibited at Burlington House, 1875, No. 259. 

Formerly in the collection of the Mities family at Pishobury, subsequently at 
Bycullah Park, Enfield; afterwards the property of Rose MILLes, who had 


married RowLanp ALstTon, Esg., and eventually in the possession of Sir 
Francis Beitpy Atston, K.C.M.G. 


Acquired from Sir JOSEPH DUVEEN. 





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MRS. SIDDONS 
AS THE TRAGIC MUSE” 


BY 


SiR JosHuA ReEYNOLDs, P.R.A. 


No. 4 


MRS. SIDDONS 
AS “THE TRAGIC MUSE” 


BY 


SiR JosHUA REYNOLDs, P.R.A. 
(1723-1792 ) 


and green low-cut gown with full white sleeves to the elbows and a brown 

cloak spread across the knees. One foot on the foot-stool, which is set on 
clouds forming the foreground. Light brown hair with a plait falling on each 
shoulder. Her right hand, with the palm down, extended over an arm of her 
throne; her left elbow resting on the other arm of the throne, with the arm raised. 
A rope of pearls falling from the right shoulder and looped to form an ornament on 
the corsage; a tiara on her head. In the left background Crime, seen at half-length, 
holds a dagger in the right hand; in the right background Remorse, with mouth 
open, holds a two-handled cup of poison. Dark background with lowering sky. 
Inscribed along the hem of her gown: J. REYNOLDS, PINXIT, 1784. 


|e length, seated classical figure more than life-size. Wearing an amber 


Sarah Kemble, born at Brecknock in 1755, was the eldest daughter of Roger 
Kemble, actor and theatrical manager. She commenced her career as a singer but 
soon passed to tragedy. In her 18th year she married William Siddons, a per- 
former in her father’s company. Excelling in characters in which anguish, emotion 
and jealousy predominated, she retired from the stage in 1812 with a large fortune. 
She died in 1831. 


Mrs. Siddons’ own version of the circumstances attending the first sitting she 
gave for her portrait was that Reynolds requested her “to ascend your undisputed 
throne, and graciously bestow upon me some idea of the Tragic Muse. Upon which 
I walked up the steps and immediately seated myself in the attitude in which “The 
‘Tragic Muse’ appears’. 


The general conception is, beyond doubt, coloured with a strong reminiscence 
of Michelangelo’s “Isaiah” on the ceiling of the Sistine Chapel, in the Vatican. 
Indeed, if Michelangelo had never painted his Prophets and Sybils, Reynolds 
would not have left us this picture as we now see it. 
















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Perhaps the only creation of Sir Joshua, at once important and entirely 
successful, in which he put his theories of the great style into literal execution.— 
GRAVES AND CRONIN: Reynolds, 1899, Vov. III, page 898. 


Nothing that Sir Joshua had attempted in combining a portrait with a work 
of imagination can compare with this wonderful work, and in it the genius of the 
painter appears to greater advantage than in any other of his works; there is no 
exaggeration in calling ‘“The Tragic Muse” sublime.—Lorp RoNaLp Gower: 
Reynolds, 1902, page 103. 


There is an inferior replica of this composition in the Dulwich Gallery, meas- 
uring 93 inches by 57 inches, and bearing a signature: “Joshua Reynolds, pinxit’’, 
and dated “1789’’. As the Dulwich Catalogue admits, their “version is inferior 
in execution to the other picture’’—that in this collection. That date is peculiarly 
significant, seeing that that painting was thus executed five years later than the 
present work. 


Canvas, 93 inches by 56 inches. Painted in 1784. 


Engraved by F. Haward, A.R.A., J. Webb, S. W. Reynolds, H. Dawe, R. Josey, 
J. Bromley and A. Cardon. 


Exhibited at the Royal Academy, 1784, No. 190; at the British Institution, 1813, 
No. 2, and in 1834, No. 113; at Burlington House, 1870, No. 79; at the Gros- 
venor Gallery, 1884, No. 55; at the New Gallery, 1891, No. 245; at the Grafton 
Gallery, 1894, No. 89; at Burlington House, 1896, No. 125. 

Notwithstanding all the favourable criticism bestowed upon this noble work from 
the outset, it long remained on the artist’s hands. Eventually C. A. pE Ca- 
LONNE gave REyYNoLDs the then considerable sum of 800 guineas, the largest 
amount that the President had ever received for-a painting of so few figures. On 
the dispersal of the DE CaLonne collection by SKINNER and Dyke, 28 March, 
1795, No. 97, it was sold to Smitu, of Norwich, who disposed of it privately to 
G. Watson Taytor. At his sale at Christie’s, 13 June, 1823, No. 64, it was 
purchased by Eart Grosvenor, created Marquess of Westminster in 1831. 
It figured as one of the chief ornaments of the Grosvenor House collection, being 
hung in the Gallery in 1854, and in the Drawing Room (No. g1) in 1880. In 
1921 it was sold by the Seconp DuKE oF WESTMINSTER. 


Acquired from Str JOSEPH DUVEEN. 


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DIANA, VISCOUNTESS CROSBIE 


BY 


SIR JOSHUA REYNOLDS 


No. 5 
DIANA, VISCOUNTESS CROSBIE 


BY 


Sir JosHuA REYNOLDs 
(1723-1792) 


ULL length, standing in a landscape, wearing a white silk gown which she 
is holding up with her right hand; gold scarf around her waist; her left 
hand is extended towards the right. Her hair dressed high. 


The Hon. Diana Sackville, born 8 July, 1756, was the daughter of Lord 
George Sackville-Germain (third son of Lionel, Seventh Earl and First Duke 
of Dorset) by Diana, second daughter and co-heir of John Sambrooke. Lord 
George was created, 11 Feb., 1782, Baron Bolebrooke and Viscount Sackville of 
Drayton, County Northampton. Diana Sackville, 26 Nov., 1777, at the house of 
her father, married John, Second Earl of Glandore, Viscount Crosbie of Ardfert, and 
Baron Brandon; he was styled Viscount Crosbie, 1776-81; he succeeded to his 
father’s peerage, 11 April, 1781. She died 29 August, 1814, aged 58. 


Nothing can be imagined more animated than the whole attitude of ‘“Vis- 
countess Crosbie”. She appears literally to be scudding across the landscape, full 
of the joy and zest of life at its best and fullest.—Lorp Ronatp Gower: Reynolds, 


1902, page 90. 


It is said that Sir Joshua, arriving at Ardfert to paint this portrait, had a 
first glimpse of his model running across the lawn. He was so delighted with her 
grace that he preferred to represent her in such a setting. 


Canvas, 93 inches by 58 inches. Painted in Sept., 1777, just before her marriage. 

Exhibited at the Royal Academy, 1779, No. 251, as “A Lady, whole length”; 
Exhibited at Burlington House, 1884, No. 148; 1891, No. 136; at the Franco- 
British Exhibition, 1908, No. 45. 

Engraved by W. Dickinson, James Scott and R. S. Clouston. A first state by W. 
Dickinson fetched 700 guineas in the Meinertzhagen sale at Christie’s in 1910; 
an unique impression of it “before the lettering and with the arms only” 
fetched more than £1408, in Paris on 21 Nov., 1913. 

Formerly in the collections of W1tt1AM TaLBot CrosBi£, SIR CHARLES TENNANT, 
Bart., and Sir Epwarp P. TENNANT, created BARON GLENCONNER, of the 
Glen, 1911. In the Catalogue of the Tennant Collection, 1920, No. 32. 


Acquired from Sir JOSEPH DUVEEN. 





PENELOPE, VISCOUNTESS LIGONIER 


BY 


THOMAS GAINSBOROUGH, R.A. 


No. 6 


PENELOPE, VISCOUNTESS LIGONIER 


BY 


THOMAS GAINSBOROUGH, R.A. 
(1727-1788) 


tight sleeves, which, looped up with pearl ornaments, widen at the elbows 

with deep lace frills; round her waist a bluish-grey and gold sash; a red rose 
at her bosom. Her gaze is directed slightly towards the left. She rests her head, 
with her hair dressed high, against the fingers of her left hand, with her elbow on a 
pedestal upon which stands a bronze statuette. Her right hand rests on her hip. 
In the right foreground a bust of a child and a bust of a bearded man are placed on 
drawings which rest on a chair. In the left over a low wall is a landscape back- 
ground with a path leading to a Martello tower. A dark red curtain in the right 
background. 


H's length, standing, wearing a white dress cut low at the neck, with short 


Penelope, daughter of George Pitt of Strathfield-Saye, Esq., afterwards First 
Baron Rivers by his wife Penelope, sister and heir of Sir Richard Atkins, Sixth 
Bart., was born 23 Feb., 1749. She married 16 December, 1766, at the British 
Embassy, Paris, as his first wife, Edward, Second Viscount Ligonier, by whom, in 
1771, she was divorced. Subsequently she married 4 May, 1784, at Northampton, 
Private Smith of his Majesty’s regiment of Royal Horse Guards Blue. 


Our most brilliant example of this many-gifted painter is, however, “The 
Lady Ligonier”. Something of the Pitt air of over self-reliance is in her flashing 
eyes and expressive features.—The Times, LONDON, 5 January, 1881. 


Canvas, 94% inches by 62 inches. Painted in February, 1771. 

Exhibited at the Royal Academy, 1771, No. 75; at the International Exhibition, 
1862, No. 49; at Burlington House, 1881, No. 177; at Berlin, 1908, No. 29; 
and at New York, 1914, No. 6. 

She was painted also by Sir Joshua Reynolds. 


Formerly in the collections of Lorp Rivers, GENERAL Pitt-Rivers, A. C. Rivers, 
Esg., and ASHER WERTHEIMER, Esq. 


Acquired from Sir JOSEPH DUVEEN. 








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SECOND VISCOUNT LIGONIER 


BY 


THOMAS GAINSBOROUGH, R.A. 


EDWARD, 
SECOND VISCOUNT LIGONIER 


THOMAS GAINSBOROUGH, R.A. 
(1727-1788 ) 
ULL length, standing, wearing a scarlet uniform and buff breeches; his face 
HK turned three-quarters to the right; resting his right arm on the saddle of his 
grey charger; holding his cocked hat in his right hand; his left, on the hilt 
of his sword. Landscape background. 


The family traces its ancestors to Louis de Ligonnier, Seigneur de Monten- 
guet in Languedoc. The first Viscount Ligonier, of Clonmel, was created a peer 
in 1757 with special remainder to his nephew, and died unmarried at the age of 89, 
28 April, 1770. The father of the subject of this portrait was Francis Augustus 
Ligonier, Colonel of 13th Dragoons; he died 25 Jan., 1746. 


Edward, Second Viscount Ligonier, of Clonmel, was born in 1740. He 
entered the 2nd Dragoon Guards in 1752. He was Aide-de-Camp to Prince Fer- 
dinand of Brunswick at the Battle of Minden, 1 August, 1759. On the death of 
his uncle in 1770, he succeeded to the Irish Viscountcy. He was, on 19 July, 1776, 
created an Irish Earl with the title of Earl Ligonier, of Clonmel. He became a 
Major-General in 1775 and Lieut.-General in 1777. He died in 1782 without issue. 


In 1767 he married, firstly, Penelope, daughter of George Pitt, First Lord 
Rivers; he divorced her by Act of Parliament on 7 Nov., 1771; she, in 1784, mar- 
ried Captain Smith. In 1773, he married, secondly, Lady Mary Henley, third 
daughter of Robert, First Earl of Northington; and she, on his death in 1782, 
married, secondly, the Second Viscount Wentworth. 


Gainsborough painted also the portrait of the Viscount Ligonier’s first wife, 
Penelope, which is also in this collection. 


Canvas, 94 inches by 62 inches. Painted in 1771. 

Exhibited at the Royal Academy, 1771; at the Old Masters, Burlington House, 1881; 
at Berlin, 1908; and at New York, 1914, No. 5. 

Formerly in the collections of Lorp Rivers, GENERAL Pitt-Rivers, A. C. Rivers 
Esg., ASHER WERTHEIMER, Esq. 


Acquired from Sir JOSEPH DUVEEN. 





JANE, COUNTESS OF HARRINGTON 


BY 


SIR JOSHUA REYNOLDs, P.R.A. 


No. 8 


JANE, COUNTESS OF HARRINGTON 


BY 


SiR JosHuA REYNOLDs, P.R.A. 
(1723-1792) 


the left, leaning against a low balustrade on which, on the right, is a large 

stone vase; and her right hand extended. She wears a pink classical dress 
with long full sleeves lined with grey-blue, a sash of a lighter blue and a pink mantle. 
Her thin white silk under-robe is trimmed with gold on the left shoulder. White 
feather headdress, with a pink ribbon. Blue sky, cloud cumuli. 


as length, standing on a terrace which is paved, turned slightly towards 


Jane Fleming, daughter of Sir John Fleming, Bart., of Brompton Park 
(died 1763), was born, probably at Brompton, in 1755. Her mother Jane, only 
daughter of William Coleman of Gornby, Esq., married, secondly, in 1770, Edwin 
Lascelles, Esq., who in 1790 was created Lord Harewood; he died in 1790. 


Jane Fleming, 23 May, 1779, married Charles, Third Earl of Harrington, 
who, born 20 March, 1753, was from 1756-1779 styled Viscount Petersham. He 
was Lieut.-Colonel of the 3rd Foot Guards and Aide-de-Camp to General Bur- 
goyne in the American War in 1777, becoming a General in the Army in 1802. He 
succeeded to the Peerage, 1 April, 1779. Commander-in-Chief of the Forces in 
Ireland, 1805-1812, and Ambassador to Berlin in 1805, he was appointed Constable 
of Windsor Castle in 1812. He died 15 Sept., 1829, at Brighton, having had seven 
sons and three daughters. 


Jane, Countess of Harrington, died at St. James’s Palace, 2 Feb., 1824, 
and was buried at Westminster Abbey. 


Canvas, 93 inches by 57 inches. Painted in March, 1779, shortly before her mar- 
riage; this forms a companion picture to the full length of her mother (Mrs. 
Edwin Lascelles), painted by Sir Joshua in the same year and still accompanying 
it in this collection. 

Engraved by Richard Smythe in 1912. 

Exhibited at the British Institution, 1813, No. 92; at New York, 1914, No. 8. 

Formerly in the collection of the Ear: or HARRINGTON at Elvaston Castle, Derby. 


Acquired from Sir JOSEPH DUVEEN. 





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MRS. EDWIN LASCELLES 


BY 


SiR JosHuA REYNOLDs, P.R.A. 


No. 9 


MRS. EDWIN LASCELLES 
(Afterwards Lady Harewood) 


BY 


StR JosHUA REYNOLDs, P.R.A. 
(1723-1792) 


ULL length, seated on a bank, with rising ground and shrubs behind her; 
HK sunset sky on the left. Ina yellow-brown low-cut gown, with a light green 
mantle by her side. Her right hand, across her lap, holds back her gown 

from the water which pours from the large vase at her side. 


Jane, only daughter of William Coleman of Gornby, County Devon (by 
Jane, seventh daughter of Sir William Seymour, Fifth Bart., and sister of Edward, 
Eighth Duke of Somerset), married, firstly, 4 July, 1753, John Fleming, afterwards 
Sir John Fleming, Bart., of Brompton Park (died 1763). She married, secondly, 
31 March, 1770, in Upper Brook Street, as his second wife, Edwin Lascelles (1713- 
1795), who, 9 July, 1790, became Baron Harewood, of the first creation. She 
died 11 April, 1813, aged 81, and was buried beside her first husband in West- 
minster Abbey. Her daughter by her first husband, Sir John Fleming, Bart., had 
in 1779 married Charles, Third Earl of Harrington. 


The family of Lascelles is said to derive its name from the village of Lassele 
in Normandy, and traces back at least as far as Humphrey Lascelles, circa 1087. 
The name Lascelles is put down by Leland as on the Rolls of Battle Abbey. Hare- 
wood has been described as “‘a fortunate place blessed with much natural beauty 
and fertility, with an entire dismantled castle, a modern palace surrounded by a 
wide extent of pleasure grounds and plantations”’. 


Canvas, 93 inches by 57 inches. The costume points to the picture having been 
painted in 1779, the same year as Sir Joshua’s portrait of her daughter, Jane, 
Countess of Harrington, to which, in this collection, moreover, it forms a com- 
panion. 


Exhibited at New York, 1914, No. 9. 


From the collection of the Ear, or HarrincTon at Elvaston Castle, Derby, and 
inherited by the CounTEss oF HARRINGTON from her mother, Lapy HarEwoop, 
in 1813. 


Acquired from Sir JOSEPH DUVEEN. 





THE HON. MRS. CUNLIFFE OFFLEY 


BY 


Sir THomMas LAWRENCE, P.R.A. 


No. 10 


THE HON. MRS. CUNLIFFE OFFLEY 


BY 


Str Tuomas LAWRENCE, P.R.A. 
(1769-1830 ) 


white dress, with a high waist-line, and a small white cap. A yellow 

mantle falls from her right shoulder and in part covers the back of the 
seat, and on it sits a King Charles spaniel which has a pink ribbon round its neck. 
Her left arm is extended and rests on her knee, her right leg being crossed over her 
left. She has a fresh complexion and strongly marked features. In the right back- 
ground, a mountainous landscape with a glowering sky. . 


N eis: full length, seated towards the right under a tree and wearing a 


Emma Crewe was the daughter of John Crewe, afterwards First Lord Crewe, 
by his wife Frances, daughter of Fulke Greville of Wilbury, Wilts. Her father 
(1742-1829), having been 48 years in Parliament, was under the Fox ministry 
created, 25 Feb., 1808, Baron Crewe of Crewe. This peerage was obtained for him 
by Fox, who “preferred Mrs. Crewe to all women living,” although that lady 
“never lost an atom of character, | mean, female honour,” and “loved high play 
and dissipation but was no sensualist’”’. When the Prince of Wales made the well- 
known toast of ““True Blue and Mrs. Crewe” at a banquet given in Mrs. Crewe’s 
house to celebrate Fox’s re-election for Westminster in 1784—the colours of which 
were blue and buff—she in return gave the toast: “Buff and Blue, and All of You”. 
She died 23 December, 1818. 


Emma Crewe married, 21 April, 1809, Foster Cunliffe (1782-1832), of Acton 
Park, near Wrexham, elder son but not heir of Sir Foster Cunliffe, Bart. He, in 
1829, in right of his wife, assumed with her the additional name of Offley of Made- 
ley, County Stafford. She died 15 Feb., 1850. 


Canvas, 50 inches by 40 inches. Painted about 1800-1805, in conjunction with 
Sir Edward Landseer, R.A. 


Engraved by Scott Bridgewater. 
Exhibited at the Grosvenor Gallery, 1888, No. 108; and at Agnew’s, 1904, No. 18. 


Formerly in the collection of the First Lorpv Houcuton, and of the Seconp Lorp 
Houcuton, created Marquess of Crewe in I1gII. 


Acquired from Sir JOSEPH DUVEEN. 


































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“LITTLE RED RIDING HOOD” 


BY 


Sir THomMaAs LAWRENCE, P.R.A. 


No. 11 


“LITTLE RED RIDING HOOD” 
(Miss Emily Anderson) 


BY 


Sir Tuomas LAWRENCE, P.R.A. 
(1769-1830 ) 


ULL length; life-size; in full front; the head crowned with black curls, 
slightly inclined over the right shoulder. Wearing a short brown stuff 
dress, which is high-waisted, a blue sash, short sleeves; her white apron is 

thrown over her left arm, from the folds of which peep some yellow flowers; in her 
right hand she carries a shallow basin wrapped in a cloth. A large red scarf is over 
her head and shoulders and is tied under her chin in the form of a hood. Grey 
stockings and black shoes; the right foot advanced. She stands by the side of a 
stream which runs on the right; trees seen against a sunset sky in the right back- 
ground; trees in shadow in the left background. 


It is the portrait of Emily Anderson, daughter of William Anderson, of 
Ewdale, Cromarty Bay. It was painted in the grounds of Ewdale, and I believe that 
Lawrence had been up there for some time staying with William Anderson, and 
could not get any dress or position which in his opinion did justice to the beautiful 
girl, but that one evening, seeing her dressed as Red Riding Hood for a fancy dress 
dance, he decided at once, that in that dress, in a spot which he loved in the park, 
the picture would be perfect, and in that way he painted her. There is a story in the 
family that the great Duke of Wellington wished to marry her, when a nameless and 
rather poor Captain, and that her people would not consent; that she loved him 
truly, and died an old maid for his sake-—Aucusta Gorpon Watson, in a letter 
dated 22nd May, 1918. 


Canvas, 63 inches by 45 inches. Painted about 1821-1822. 
Engraved by Richard Lane, 1824; and by J. R. Jackson, 1843. 
Exhibited at the Royal Academy, 1822, No. 300. 


Formerly in the collections of Witt1am ANDERSON, Ewdale, Cromarty Bay, Scot- 
land; the Rev. A. ANDERSON, and, later, in that of Mrs. Aucusta Gorpon 
Watson, and her son LIEUTENANT FRANK A. ANDERSON. 


Acquired from Sir JOSEPH DUVEEN. 








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BY 


THoMas GAINSBOROUGH, R.A. 


No. 12 


“THE BLUE BOY” 
(Master Jonathan Buttall) 


BY 


THomMas GAINSBOROUGH, R.A. 
(1727-1788 ) 


ne length, life-size figure, standing on rising ground in a receding 


landscape. He wears a light-blue satin suit; knee breeches; his coat is 

edged with white and trimmed with white buttons; white bows at the knees 
and a Van Dyck collar; white lace cuffs on his slashed sleeves. In his right hand, 
which falls by his side, he holds his black felt hat which has a white feather in it; 
over his left arm, placed on his hip, hangs his blue cloak. Dark eyes, dishevelled 
hair with a curl falling on his forehead. Cloudy sky, with the setting sun glowing 
beyond the horizon. 


Master Jonathan Buttall was the son of an ironmonger in an extensive way of 
business, who lived at 31, Greek Street (at the corner of King Street), Soho, 
London, between 1728 and 1768 when he died. Jonathan Buttall, the son, proved 
to be ‘‘one of the few friends most respected” by the painter who desired that he 
should attend his funeral at Kew in 1788. Having carried on the family business in 
Greek Street until 1796, when his effects as well as “Capital pictures and drawings 
by Gainsborough” were sold by Sharpe and Coxe, he died in Oxford Street, London, 
towards the close of 1805, being reputed “‘a gentleman whose amiable manners and 
good disposition will cause him to be ever regretted by his friends”. 


This is, doubtless, “the portrait in a Van Dyck dress which achieved for 
Gainsborough a great success at the Royal Academy in 1770’—to quote Joseph 
Hogarth, the picture dealer, in addition to being that mentioned by Mary Moser, 
in 1770, as “the portrait of a gentleman in a Van Dyck habit in which Gainsborough 
is beyond himself ”’. 


Sir Joshua Reynolds in his eighth Discourse on 10 Dec., 1778, averred that 
“the masses of light in a picture should be always of a warm, mellow colour, yellow, 
red or a yellowish-white,” while the “blue, grey or green colours should be kept 
almost entirely out of these masses”. In consequence, a story was long credited 
to the effect that ‘““The Blue Boy” was produced by Gainsborough—and that in 
1779—to confute the dictum of Sir Joshua. However, Sir Joshua’s statement in 





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Director of the National Gallery, London, to Sir 

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after its exhibition in London, January, 1922. 





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fact amounts to little more than the truism that splendid colour effect cannot be 
produced with cold colour. Seeing that Gainsborough had exhibited “The Blue 
Boy” eight years before this Discourse was delivered, a just repartee to the utter- 
ance of the President must be sought elsewhere. 


Canvas, 70 inches by 4814 inches. Painted in 1770. 

Engraved in colour by Scott Bridgewater. 

Exhibited at the Royal Academy, 1770, No. 85; at the British Institution, 1814, No. 
23, and 1834, No. 117; Manchester, 1857, No. 156; International Exhibition, 
1862, No. 30; Burlington House, 1870, No. 91; and 1896, No. 129; Grosvenor 
Gallery, 1885, No. 62; Berlin, 1908, No. 63; the Franco-British Exhibition, 
1908, No. 69; the National Gallery, London, 1922; and the Duveen Gallery, 
New York, 1922. 

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full pedigree of this remarkable canvas may with some degree of certainty be 
set forth as follows:—It passed out of the possession of the Butra.i family 
about 1796-98. It belonged to Joun NeEspitr, M.P., in 1802. In 1806 it 
belonged to Joun Hoppner, R.A., who died in 1810. Previous to 1814 it was 
acquired by Eart Grosvenor, created Marquess of Westminster in 1831, and 
from him it passed to the SEconpD MarguEss (1795-1869), and to the THIRD 
MarguEss (1825-99), who was created Duke of Westminster in 1874. In 1854 
it hung in the Gallery. It figured in the Catalogue of the Grosvenor House 
collection in 1880 (No. 77), when hanging in the Drawing Room. Eventually 
it was sold by the Seconp DukgE, 1 Oct., 1921. 


Acquired from Sir JOSEPH DUVEEN. 





“THE COTTAGE DOOR” 


BY 


THOMAS GAINSBOROUGH, R.A. 


Novr 


“THE COTTAGE DOOR” 


BY 


THOMAS GAINSBOROUGH, R.A. 
(1727-1788) 


brown skirt and white bodice; her hair falls on her shoulders. One of the 

six children is hardly draped, and, seated on a sandy bank, holds in his left 
hand something that he is eating. In front of the door of the thatched cottage are 
two more of the children; one of them, with his back to the door, drinks soup from 
a spoon, while the bowl of soup is held by a fourth, who, clad ina red vest, kneels in 
front; a fifth, his right hand on his head and the forefinger of his left hand in his 
mouth, looks down at another who is sitting on a bank with a bowl in his lap. In 
the right foreground are luxuriant weeds, farther back is a gnarled and withered 
tree; the branches of another overhang the cottage, the door of which is open. In 
the left foreground is a stream running in torrent beneath a plank bridge; beyond it, 
a willow tree. In the distance, a field and green trees seen under a setting sun. 


: PEASANT?’S family assembled in rural solitude. The woman, in yellow- 


This beautiful scene, where serenity and pleasure dwell in every spot, and 
the lovely figures composed in the finest rural style, their situation worthy of them, 
forms a scene of happiness that may truly be called ‘““Adam’s Paradise”.—W. T. 
WHITLEY: Gainsborough, 1916, page 170. 


Canvas, 57 inches by 46 inches. It is, doubtless, one of Gainsborough’s later works 
and may be approximately dated as of 1776-78. 

Engraved by Scott; and etched by Koepping. 

Exhibited at the Royal Academy, 1780, No. 62; at the British Institution, 1834, No. 
116; and 1859, No. 93; at the International Exhibition, 1862, No. 95; at 
Burlington House, 1871, No. 104; at the Burlington Club, 1871, No. 30; at the 
Grosvenor Gallery, 1885, No. 98; at Burlington House, 1895, No. 93; and at 
the Guildhall, 1902, No. 88. 

Bought by T. Harvey, Esq., of Catton, Norfolk, in 1786, it passed to Mr. Coppin, 
of Norwich, in 1807. It subsequently became the property of Str JoHN LEIcEs- 
TER, Bart., created Lord De Tabley 10 July, 1826, and at his sale 7 July, 
1827, No. 52, was bought by Eart Grosvenor, created Marquess of West- 
minster, 1831. Sold by the SEconp DUKE, in 1921. 


Acquired from Stir JOSEPH DUVEEN. 








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“THE YOUNG FORTUNE TELLER” 


BY 


SIR JosHuA RryYNOLDs, P.R.A. 


No. 14 


“THE YOUNG FORTUNE TELLER” 


BY 


SiR JosHUA REYNOLDS, P.R.A. 
(1723-1792) 


Lady Charlotte Spencer in an “Italian” landscape. The former in a Van 
Dyck dress, and on the right, has placed his hand in the right hand of his 
sister who is in the attitude of one who would “tell his fortune’. 


T= whole-length standing portraits, Lord Henry Spencer and his sister 


Lord Henry John Spencer, born 20 Dec., 1770, was the fifth child of George, 
Fourth Duke of Marlborough, K.G. He was M.P. for Woodstock, 1790; Secre- 
tary of Legation at the Hague; Envoy to Stockholm, 1793, and two years later to 
Berlin, where he died 3 July, 1795. 


Lady Charlotte Spencer, the fourth child of the Duke, was born 18 Oct., 
1769; she married 16 April, 1797, the Rev. Edward Nares, D.D., who was Regius 
Professor of Modern History and Languages in the University of Oxford and Vicar 
of Biddenden. Lady Charlotte Nares died 10 Jan., 1802. 


Canvas, 55 inches by 44 inches. Painted in 1775, and recorded in Sir Joshua’s 
accounts: “1775, Lord Henry and Lady Charlotte Spencer. First olio e poi 
colori con cena senza olio”. It was paid for in 1780 (February) by the Duke of 
Marlborough. 


Engraved by J. Jones; J. K. Sherwin; C. Turner, A.R.A.; S. W. Reynolds, and 
R. S. Clouston. 

Exhibited at the Royal Academy, 1775, No. 235; at the British Institution, 1813, 
No. 94; at the National Portrait Exhibition, 1867, No. 693; at the Grosvenor 
Gallery, 1884, No. 46; at Glasgow, 1888, No. 198; at Burlington House, 1891, 
No. 137; and at Agnew’s, 1902, No. 8. 

Formerly in the collection of the DukE or MartBoroucH. Purchased by Sir 
CuaRLES TENNANT, Bart., created Baron Glenconner of the Glen in 1911. In 
the Catalogue of the Tennant Gallery, 1920, page 32, No. 33, but by a misprint 
there stated to have been painted in 1788. 


Acquired from Sir JOSEPH DUVEEN. 





“THE MARRIAGE OF THE ADRIATIC” 


BY 


J. M. W. Turner, R.A. 


Nowrs 
“THE MARRIAGE OF THE ADRIATIC” 


BY 


J. M. W. Turner, R.A. 


(1775-1851 ) 
\ BRILLIANT morning on the Grand Canal. A long line of palaces, with 


the dazzling white Palazzo Grimani towering conspicuously on the right, 

stretches towards the extreme distance where the Rialto is seen; nearer, to 
the right, we see the Fondaco dei Tedeschi. The surface of the canal is covered 
with a multitude of boats and gondolas which are crowded with figures. On the 
quay are grouped a gaily dressed company, many of whom are kneeling near a 
richly decorated barge covered with gay rugs and banners. Immediately to the 
right is a flight of steps thronged with people; several of them lean over the parapet, 
while others in the adjoining buildings watch the episode supposedly enacted 

- between Shylock and Antonio:— 


AntTonio:—Hear me yet, Good Shylock. 
SHYLocK:—I’/l have my bond. 


In the immediate foreground to the left is a floating landing-stage, decora- 
tively presented. On it a brown-clad, bare-footed Franciscan monk, with folded 
hands, is evidently taking a subordinate part in the religious ceremony seen on the 
right. Near the monk are several Dominican nuns; other persons, gaily attired, 
near by. In the foreground, also, are pieces of wood and wicker floating in the 
water. Blue sky, with cloud cumull. 


It is manifest that none of the various incidents in the picture was intended 
to usurp the greater conception of Venice, the magnificent, the jewel lying on the blue 
bosom of the Adriatic, the city of stately palaces and gorgeous pageantry, imagina- 
tively raised to its highest spectacular beauty.—R. RapcLirFE CARTER in the Ralph 
Brocklebank Catalogue, 1904, No. 46. 


Canvas, 59 inches by 44 inches. Painted about 1837. 

Exhibited at the Royal Academy, 1837, No. 31; at Burlington House, 1880, No. 35; 
at the Walker Art Gallery, Liverpool, 1886; at the Guildhall, London, 1894, 
No. 97; at the Guildhall, 1899, No. 34; at Agnew’s (Liverpool), 1902. 

Painted for Mr. Ruskin, Senior. Purchased by RaLtpH BRocKLEBANK in 1874; 
in that collection at Haughton Hall, Cheshire, under the title “The Grand 
Canal, Venice, sometimes called the Marriage of the Adriatic’, until about 1922. 


Acquired from Sir JOSEPH DUVEEN. 








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LADY BEAUCHAMP 


BY 


JOHN Hoppner, R.A. 


No. 16 


LADY BEAUCHAMP 
(Afterwards Marchioness of Hertford) 


BY 


JOHN Hoppner, R.A. 
(1758-1810 ) 


to the spectator. Powdered hair, dressed fully at the sides. She wears a 

wide, light straw hat trimmed with blue ribbons, a blue and white dress, 
cut low at the throat, a black satin and lace shawl over the shoulders, gray kid gloves 
on her hands crossed before her, and a bunch of jasmine in the bosom of her dress. 
Background of dense trees, with a glimpse of sky at the left. 


H:: length, the body turned very slightly to the left, and the gaze directed 


Isabella Anne Ingraham Shepherd, eldest daughter and co-heir of Charles, 
Ninth Viscount Irvine. She married, as his second wife, on 20 May, 1776, 
Francis Seymour (Conway), Viscount Beauchamp (born 1719), created Earl of 
Yarmouth and Marquis of Hertford in 1793. He died on 14 June, 1794. The 
Marchioness outlived her husband forty years, she dying 12 April, 1834. 


A very fine, powerful picture.—WiLL1am McKay, in John Hoppner, R.A., 
page 16. 


Canvas, 30 inches by 25 inches. Painted in 1784. 

Exhibited at the Royal Academy, 1784, No. 64; at Burlington House (Old Masters) 
1907, No. 124. 

Formerly in the collection of Joun C. F. Ramspen, Esg., Willinghurst, England. 


Acquired from Sir JOSEPH DUVEEN. 





No. 17 
MRS. RALPH WILLETT 


BY 


GEORGE ROMNEY 
(1734-1802 ) 


spectator. Ina white dress and neckerchief, a pink cloak edged with fur, 
a large straw hat with pink ribbon, and a white veil which falls on her 
shoulders. Her hair is powdered; her gloved hands are clasped on her lap. 


H =: LENGTH, turned three-quarters to the left but looking at the 


Charlotte Willett, the daughter of a Mr. Locke, of Clerkenwell, London, 
was born in 1746. She married, firstly, Samuel Strutt, Esq., Assistant Clerk in the 
House of Lords (he died 23 Jan., 1785); and, secondly, Ralph Willett, Esq., F.S.A., 
F.R.S., by special license at his house in Dean Street, Soho, on 15 May, 1786. She 
lived with her husband on his estate of Merly in Great Canford, Dorsetshire, until 
his death on 13 Jan., 1795; she then removed to the Dean Street residence where 
on 11 May, 1815, she died, at the age of 69. Her remains were buried in the South 
Cloister of Westminster Abbey. 


Ralph Willett was the elder son of Henry and Elizabeth Willett, of the 
Island of St. Christopher. He was born in 1719, matriculated at Oriel College, 
Oxford, in 1736; studied at Lincoln’s Inn, 1739, and inherited the family estates in 
the West Indies in 1740. He purchased Merly, near Wimborne, Dorsetshire, in 
1751, and there built a noble mansion with a library that was remarkably richin 
early printed books and in specimens of block-printing. A description of the library 
was printed in French and English in 1776, and was reprinted with 25 illustrations 
of the designs in 1795. A catalogue of the books in the library was distributed by 
Willett among his friends in 1790. His books were dispersed by Leigh and Sotheby 
in 1814, by order of his cousin, John Willett Adye, who inherited the Dorsetshire 


property. 
Canvas, 30% inches by 25 inches. Painted about 1790. 


Exhibited at the Grafton Gallery, 1894, No. 119. 


Formerly in the collection of EARL DE Grey, and, later, of the MARCHIONESS OF 
RIPON. 


Acquired from Sir JOSEPH DUVEEN. 





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“ANNE, DUCHESS OF CUMBERLAND” 


BY 


THOMAS GAINSBOROUGH, R.A. 


No. 18 


“ANNE, DUCHESS OF CUMBERLAND” 


BY 


THOMAS GAINSBOROUGH, R.A. 
(1727-1788 ) 


towards the right. Powdered hair, dressed high; fresh complexion, blue 

eyes; the eye-brows strongly pencilled. An ear-ring in her right ear, a 
pearl ornament in her hair, pearls also adorn her dress which is pink and yellow and 
cut low. She holds a gold-striped gauzy mantle before her. Pearl bracelets; one 
ring on the small finger of the right hand. Neutral background. 


H:= length, the body turned slightly to the left and the gaze directed 


Anne, eldest daughter of Simon (Luttrell) of Luttrellstown, Co. Dublin, 
Viscount Carhampton of Castle Haven, and Earl of Carhampton, and Judith Maria, 
daughter and eventually heiress of Sir Nicolas Lawes, many years Governor of 
Jamaica, was born 24 Jan., 1743, at St. Marylebone. She married, firstly, 
Christopher Horton of Catton Hall, Co. Derby; secondly, 2 Oct., 1771, in Hertford 
Street, Mayfair, H.R.H. Henry Frederick, Earl of Dublin and Duke of Cumber- 
land and Strathearn, brother of George III. This marriage, following that of 
his brother, the Duke of Gloucester, five years previously, with the Dowager 
Countess of Waldegrave, was the occasion of the Royal Marriage Act of 1772, 
whereby the consent of the King is required before the age of 25, and the consent 
of Parliament after that age, to a marriage of the descendants of George II. of 
English birth. 


Canvas, 36 inches by 28 inches. 

Exhibited at Leeds, 1868, No. 1045; Burlington House, 1883, No. 206; Agnew’s, 
1899, No. 3; Franco-British Exhibition, 1908, No. 46; Paris, 1909, No. 8; 
Scott & Fowles Galleries, New York, March, 1912. 

Formerly in the collection of Lorp WENLOocK, who sold it to CHARLES WERTHEIMER, 
Esq. 


Acquired from Messrs. Scott & FowLEs. 








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JULIANA, LADY PETRE 


BY 


THOMAS GAINSBOROUGH, R.A. 


No. 19 
JULIANA, LADY PETRE 


BY 


THOMAS GAINSBOROUGH, R.A. 
(1727-1788 ) 


ground on the right; her head turned towards the left. In a lemon-yellow 

bodice and panniers, with a blue sash over a pale blue satin skirt; a white 
fichu over her shoulders; lemon-yellow sleeves, with white frills at the wrists. Her 
left arm, raised, grasps one end of a mantilla, the other end of which is effectively 
twisted round her right wrist. A narrow black ribbon round her neck; a large black 
hat with bows; powdered hair. 


GS eet in a landscape, and apparently ready to advance on to lower 


Juliana Barbara, younger daughter of Henry Howard, Esq., of Glossop, by 
his wife Juliana, daughter of Sir William Molyneux, Bart., was born at Darnal, 
Yorkshire, 25 June, 1769. A sister of Bernard Edward, Twelfth Duke of Norfolk, 
she married, secondly, 16 Jan., 1788, at the house of her mother in Great Marl- 
borough Street, Robert Edward (Petre), Baron Petre of Writtle, who, born 1742, 
succeeded the same year to the peerage as Ninth Baron and died 2 July, 1801. 
Juliana, Lady Petre, died 16 April, 1833, and was buried at Ingatestone, Essex. 


On 24 March, 1788, soon after she had returned from her honeymoon, it was 
announced that she “intended sitting to Mr. Gainsborough for her picture’’, and it 
was finished by 19 April. This must be, as the technique indicates, one of the very 
last of the works of Gainsborough, who, on the high tide of success, was suddenly 
attacked by the illness which caused his death some three months later. 


Canvas, 90 inches by 59 inches. Painted in 1788. 

Exhibited at the Grosvenor Gallery, 1888, No. 87; at Berlin, 1908, No. 21; and at 
New York, 1914, No. 7. 

Formerly in the collection of Lorp Petre, at Thorndon Hall, Brentwood, Essex; 
and later in that of CHaRLEs J. WERTHEIMER, Esq. 


Acquired from Sir JOSEPH DUVEEN. 





FRANCES, MARCHIONESS CAMDEN 


BY 


SIR JosHUA REYNOLDS, P.R.A. 


No. 20 


FRANCES, MARCHIONESS CAMDEN 


BY 


SiR JosHua REYNOLDs, P.R.A. 
(1723-1792) 


spread around her; looking at the spectator; she leans her left arm on an 

old-gold mantle placed on a low stone wall, the right resting on her lap; 
her white dress, with long sleeves, is cut low at the neck; around her shoulders is a 
small fichu, the ends of which fall to her lap; her hair is dressed high, and a long 
curl falls upon her left shoulder. Background of birch-trees, with a cloudy sky. 


F:: length, seated on the ground, in a landscape, wearing a wide skirt 


Frances, daughter and sole heiress of William Molesworth (died 1762), of 
Wembury, Devonshire; and his wife, Anne (died 1767), daughter of James Smyth, 
of St. Audries, Somersetshire, married, 31 December, 1785, John Jeffreys Pratt, 
who became Viscount Bayham, 13 May, 1786, and succeeded his father as Second 
Earl Camden, 1794, and was created Marquess Camden, 17 September, 1812. 
At the time of her marriage Mr. Pratt was Member of Parliament for Bath, which 
city he represented as long as he remained a commoner; in 1795, as Lord Camden, 
he was appointed Lord Lieutenant of Ireland, and was superseded by Lord Corn- 
wallis in 1798, after a period of disorder and rebellion. After his return to England 
he held several important positions in government affairs, and died at his seat, the 
Wilderness, in Kent, in 1840. Lady Camden pre-deceased him by eleven years, 
she dying in 1829. 


Miss Molesworth, whom we saw a few years ago with her aunt, Lady Lucan, 
and her cousin Lady Spencer, is just married to Mr. Pratt, Lord Camden’s son.— 
Sir Horace WaLpo_Le to Sir H. Mann, 8 January, 1786. 


’ 


Canvas, 54 inches by 45 inches. Painted in 1777. 

Exhibited at the British Institution, 1861, No. 169; at the International Exhibition, 
London, 1862, No. 77; at the Grosvenor Gallery, 1884, No. 43. 

Engraved by L. Schiavonetti; J. S. Agar, 1823; S. W. Reynolds, 1835; and F. 
Bromley, 1861. 

Formerly in the collection of EARL SPENCER, K.G., Althorp, Northamptonshire. 


Acquired from SIR JOSEPH DUVEEN. 





MRS. MEARS 


BY 


THoMAS GAINSBOROUGH, R.A. 


No. 21 


MRS. MEARS 


BY 


THOMAS GAINSBOROUGH, R.A. 
(1727-1788 ) 


which is surmounted by an urn. She wears a low-cut lilac-blue dress with 
ample folds and trimmed with pearls; a white petticoat, and white shoes. 
Her hair is dressed high and in it are flowers; her left leg is crossed over her right. 


Hh length, standing in a landscape and leaning her left arm on a pedestal, 


“ 


Mrs. Mears was one of the two daughters of Sir Benjamin Truman, prom- 
inent as a partner in the third generation of the firm of Truman, Hanbury and 
Buxton. Sir Benjamin Truman, “brewer, of Spitalfields’, died 20 March, 1780, 
his wife having predeceased him 10 June, 1766; they had an only son, James 
Truman, who died 11 Nov., 1766. Sir Benjamin commissioned Gainsborough to 
paint this portrait, as well as one of his other daughter, who married Henry Ville- 
bois, Esq.; Gainsborough painted also the double portrait of Henry Villebois’ sons. 
That group of pictures was shown at the Grosvenor Gallery in 1885. Mrs. Mears 
may have been a daughter-in-law of “Mr. Mears, of Roehampton, wine merchant”, 
who died in 1736. Mr. Villebois, who became a partner in the firm of Truman, 
Hanbury and Buxton, directed by his will that after his death these portraits should 
remain on the same premises as his firm, so long as one of its members bore the 
name of Villebois, and that when that was no longer the case the pictures should 
be sold for the benefit of the heirs of the family. The very day that the last of the 
Villebois family died the portraits in question left the offices of the firm and that of 
Mrs. Mears was sold to Alfred C. de Rothschild, Esq. 


Canvas, 88 inches by 55 inches. Painted about 1779-1780. 


Exhibited at Burlington House, 1878, No. 161; and at the Grosvenor Gallery, 
1885, No. 166. 


Formerly in the collections of Sin BENJAMIN TRUMAN, HENRY VILLEBOIS, ALFRED 
C. pe RotuscHiLp, Esg., and ALmina, Countess of Carnarvon. 


Acquired from Sir JOSEPH DUVEEN. 





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MRS. HENRY BEAUFOY 


BY 


THOMAS GAINSBOROUGH, R.A. 


No. 22 


MRS. HENRY BEAUFOY 


BY 


THOMAS GAINSBOROUGH, R.A. 
(1727-1788 ) 


ULL length, standing in a landscape. Her head is turned slightly to the 
left, while she walks towards the right. She wears a pale yellow dress 
trimmed with blue, and a bodice decked with light blue muslin. Her right 

hand is raised to her breast, and her left falls by her side. Her light brown hair, 
trimmed with a ribbon, is dressed high and falls on either side of the neck in curls. 


The Beaufou, Beaufo or Beaufoy family was anciently domiciled in North- 
amptonshire and Warwickshire; it has not been traced by Baker later than 1725. 
To this family, doubtless, belonged Henry Beaufoy, the Whig politician, the son 
of a Quaker wine-merchant in London, and the author of The Effects of Civilization 
on the Real Improvement and Happiness of Mankind, in answer to Rousseau. 


The portrait of Mrs. Beaufoy, wife of Henry Beaufoy, M.P., who also, as 
well as his Father, Mr. Mark Beaufoy, sat to Gainsborough, was exhibited by the 
painter in 1780, and has always been considered one of his finest works.—Mrs. 
STEWART ErskINE: The Connoisseur, June, 1902, page 7. 


Early in January, 1785, Mr. Beaufoy was sitting in Pall Mall for a full 
length of the exact proportions of the portrait of his wife which had been exhibited 
at the Royal Academy five years earlier—the portrait that was in the possession of 
Alfred de Rothschild.—W. T. WuitTLEy: Gainsborough, 1915, page 234. 


Canvas, 84% inches by 55 inches. Painted about 1779-1780. 
Engraved by G. Sanders and John Cother Webb. 
Exhibited at the Royal Academy, 1780, No. 162. 


Formerly in the collections of Sir BENJAMIN TRUMAN, HENRY VILLEBOIS, ALFRED 
C. pE RoruscuiLp, Esg., and Atmina, Countess of Carnarvon. 


Acquired from Sir JOSEPH DUVEEN. 

















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LAVINIA, COUNTESS SPENCER 


AND HER SON 


VISCOUNT AL THORP 


BY 


SIR JOSHUA REYNOLDs, P.R.A. 


No. 23 
LAVINIA, COUNTESS SPENCER 


AND HER SON 


VISCOUNT ALTHORP 


BY 


SIR JOSHUA REYNOLDs, P.R.A. 
(1723-1792) 


WO full length, life-size figures in a landscape. Countess Spencer, seated 

at the left, wears a white dress with a black lace wrap draped around her 

arm and skirt, and a large black hat; her hair falls in curls upon a white 

fichu on her right shoulder. She is turned directly to the right, her head in pro- 

file, and holds her son, the young Lord Althorp, with both arms as he stands 

before her; his left hand raised to his head. A white and black toy spaniel looks up 

at them from the lower right corner. The background is a forest glade with a vision 
of light at the right. 


Lavinia, the elder daughter of Sir Charles Bingham, Bart., First Earl of 
Lucan, was born in 1762. Her mother was Lady Margaret (died 1814), daughter 
of James Smyth, the miniature painter. In March, 1781, she married George 
John, Lord Althorp, who succeeded, October, 1783, as Second Earl Spencer (died 
1834). She died 8 June, 1831. 


John Charles, Viscount Althorp and Third Earl Spencer, her son, was born 
on 30 May, 1782; he was educated at Trinity College, Cambridge; and succeeded 
as the Third Earl, 10 November, 1834. Previous to his succession to the peerage 
he was a distinguished member of the House of Commons, and Chancellor of the 
Exchequer from 1830-1834; he married, 14 April, 1814, Esther, only daughter of 
Richard Acklom, of Wiseton Hall, Nottinghamshire. He died 1 October, 1845. 


Canvas, 57 inches by 43 inches. Painted 1784-1786. 

Exhibited at the British Institution, 1861, No. 162; at the International Exhibition, 
1862, No. 75; at the South Kensington Museum, 1876-1878; at the Grosvenor 
Gallery, 1884, No. 60. 


Engraved by F. Bartolozzi; S. Cousins, R.A., 1877; and F. Bromley, 1862. 
Formerly in the collection of EarL SpENcER, K.G., Althorp, Northamptonshire. 


Acquired from Sir JOSEPH DUVEEN. 





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MRS. BEDFORD AND HER SON 


BY 


JoHN Hoppner, R.A. 


No. 24 


MRS. BEDFORD AND HER SON 


BY 


JoHN Hoppner, R.A. 
(1758-1810 ) 


mother wears a white dress with high waist and short tight-fitting sleeves; 

a thin blue wrap falls across her shoulders and over her arms; white head- 
dress embroidered with gold, and the long ends elaborately patterned; red coral 
bracelets; yellow satin shoes with pink bows; the left foot advanced. 


| eee length, life-size figures moving towards the left on a terrace. The 


More to the left and farther from the front walks the boy who, wearing a red 
jacket with soft white frilled collar and long yellow breeches, holds his black hat in 
his extended right hand. In the background to the right, two columns and a red 
curtain farther back; to the left a pool of water with a wood; blue sky beyond. 


Canvas, 93 inches by 58 inches. 
From the collection of J. J. M. CHasot at Wassenaar, Holland. 


Acquired from SiR JOSEPH DUVEEN. 








x 





MRS. PENELOPE LEE ACTON 


BY 


GEORGE ROMNEY 


No. 25 
MRS. PENELOPE LEE ACTON 


BY 


GEORGE ROMNEY 
(1734-1802 ) 


TANDING under a tree, with overhanging branches, near a pool of water 
beyond which in the distance are hills. Her gaze is directed towards the 
right, as she steps to the left. She is dressed entirely in white, except for her 

lilac-grey sash. Her large hat is heavily trimmed with white ribbons, the ends of 
which are tied under her chin. Her hair is elaborately curled and slightly powdered; 
her arms hang listlessly before her, and her hands are clasped. 


Penelope was the eldest daughter of the Rev. Sir Richard Rycroft, Bart., D.D., 
of Calton, County York, the only surviving son of John Nelson, of Calton, by his 
wife Mary. By Royal license Sir Richard had, 28 Dec., 1758, taken the name of 
Rycroft, instead of Nelson. In 1759 he married Penelope, youngest daughter of 
Richard Stonehewer, Rector of Houghton-le-Spring, Durham. He died 5 July, 
1786, in his fiftieth year; his widow died 13 Feb., 1821, at her house in Curzon 
Street, in her eighty-eighth year. They had five sons and six daughters. Penelope, 
the eldest daughter, born 4 March, 1764, married, in 1791, as his second wife, 
Nathaniel Lee Acton of Livermere Park, Ipswich, Suffolk; she died in 1819. 


If there were a question of competition among these fair faces and forms of 
women on the walls, there can be little doubt that the golden apple would fall to 
the full length of Mrs. Lee Acton, lent by Lady de Saumarez. Indeed, we should 
not be far wrong if we were to pronounce this picture the loveliest Romney in the 
world. The lady’s grace of figure and attitude, the charm of her face under her big 
hat, the pleasantness of the colour, and the freedom of the painting, place it at the 
very top of the artist’s achievements.—The Times, 7 May, 1900. 


Canvas, 93% inches by 57% inches. Painted in May and June, 1791, the year of 
her marriage. 

The Portrait of the first wife of Mr. Lee Acton is also in this collection. 

Engraved by Scott Bridgewater, 1901. 

Exhibited at Burlington House, 1879, No. 42; at the Grafton Galleries, 1900, No. 
33; and at Burlington House, 1907, No. 93. 

Formerly in the collection of Miss Broke, then of Lorp pE SAUMAREZ, and of Lapy 
DE SAUMAREZ at 43, Grosvenor Place, S.W. 


Acquired from Sir JOSEPH DUVEEN. 








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“THE BECKFORD CHILDREN” 


BY 


GEORGE ROMNEY 


Noe-26 


“THE BECKFORD CHILDREN” 


BY. 


GEORGE ROMNEY 
(1734-1802 ) 
Te children ina summer landscape. The elder sister, Margaret, is standing 


and turned towards the left, but looking out over her shoulder. She wears 
a white dress lined with pink; short sleeves, and bows on the breast and 
arms; a black belt, and a black band round her head. 


The younger sister, Susan, wears a white dress which has a black belt with a 
silver buckle; a white lace mob-cap with a pink bow; white stockings and red shoes. 
Seated on the ground, her right hand on her lap; looking up at her sister. 


Margaret Maria Elizabeth, the elder daughter of William Beckford, of 
Fonthill, the celebrated traveller and author, was born in 1784; her mother was 
Lady Margaret, daughter of Charles (Gordon), Fourth Earl of Aboyne. In May, 
1811, she married, much against her father’s wishes, Colonel (afterwards Lieut.- 
General) Orde, a member of a Northumberland family and a clever soldier. She 
died at Bath, 7 Sept., 1818, her father’s anger enduring until the end. 


Susan Euphemia, the younger daughter, was born at the Chateau-la-Tour, 
Vevey, Switzerland, 14 May, 1785. She married, 26 April, 1810, Alexander 
(Hamilton), Tenth Duke of Hamilton and Seventh Duke of Brandon, K.G. (born 
3 Oct., 1767), eldest son of Archibald, Ninth Duke of Hamilton. Styled Marquess 
of Douglas and Clydesdale, 1799-1819, he was Ambassador to St. Petersburg, 
1802-1807. 


He succeeded to the Dukedom 16 Feb., 1819. He was bearer of St. Edward’s 
Crown at the Coronation of William IV. He is styled on his garter-plate, “Premier 
Duc d’Ecose.”’ He died 12, Portman Square, 18 August, 1852. She died 27 May, 
1859. They had issue, William, the Eleventh Duke of Hamilton, and Lady Susan 
Harriet Catherine who, 27 Nov., 1832, married Henry, Earl of Lincoln, afterwards 
Fifth Duke of Newcastle. 


Canvas, 59 inches by 48 inches. Painted 1789-1791. 
Exhibited at Edinburgh, 1884, No. 239; and at the New Gallery, 1890, No. 3. 


Formerly in the collection of the DukEs or Hamitton at Hamilton Palace, Lanark- 
shire. 


Acquired from Sir JOSEPH DUVEEN. 











MRS. SUSANNAH LEE ACTON 


BY 


GEORGE ROMNEY 


INO, 227 
MRS. SUSANNAH LEE ACTON 


BY 


GEORGE ROMNEY 
(1734-1802) 


HREE-QUARTER length, seated in a landscape to the left, and looking 
at the observer. She wears a white dress, a blue sash and a broad, flat 
white cap trimmed with blue. 


Susannah was the elder daughter of Sir Thomas Miller, Fifth Bart., of Lavant, 
near Chichester, and afterwards of Froyle, near Alton, Hants (1735-1816), M.P. 
for Lewes, 1774-1778, by his first wife Hannah, daughter of Alderman Black, of 
Norwich. She married, as his first wife in 1787, Nathaniel Lee Acton, who was 
born in 1757, erccuioees at New College, Oxford, 30 May, 1775, aud 17, and 
died 1 Jan., 1836, aged 79. She died in 1789. 


But of all the English painters in the first room Romney leaves the most 
delightful impression. . . . by the sentiment of grace which governs his choice of 
pose and attitude, and the feeling for feminine charm and various fascination which 
finds expression in the faces of his women. . . . The expression of the first Mrs. Lee 
Acton is arch and roguish, happily in harmony with her action and attitude.—The 
Times, 6 Jan., 1879. 


Romney is represented by one of his finest works, the full length of the second 
Mrs. Lee Acton, and by a good but more ordinary portrait of her predecessor, Mr. 
Lee Acton’s first wife.—Times, 13 Feb., 1907. 


Canvas, 49) inches by 39! inches. Painted in Dec., 1786, and Jan., 1787, shortly 


before her marriage. 


Romney painted not only the first and the second wife, portraits both in this collec- 
tion, but the husband also. 


Exhibited at Burlington House, 1879, No. 20; at the Grafton Galleries, 1900, No. 343 
and at Burlington House, 1907, No. 98. 


Formerly in the collection of Miss Broke, then of Lorp pE SAUMAREZz, and of Lapy 
DE SAUMAREZ at 43, Grosvenor Place, London. 


Acquired from Sir JOSEPH DUVEEN. 














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MASTER WILLIAM BLAIR 


BY 


SiR Henry RAEBURN, R.A. 


No. 28 


MASTER WILLIAM BLAIR 


BY 


Str Henry RAEBURN, R.A. 
(1756-1823 ) 


front. In a russet-brown doublet with buttons; a turned down collar of 
fine white linen; the throat is partially seen. About 11 years of age, he has 
a delightful and ingenuous expression, and fair wavy hair. Neutral background. 


B ST portrait; the body turned slightly towards the left, gazing almost full 


Master William Blair was the son of the Rt. Hon. Robert Blair of Avon- 
town, near Linlithgow, Lord President of the College of Justice, Edinburgh, and his 
wife Isabella Cornelia Halkett Blair, of Lawhill, Fifeshire. He was born about 
1803 at Avontown and, like his father, devoted his life to the law. In 1821 he was 
admitted a member of the Faculty of Advocates, and soon obtained a considerable 
practice at the Bar. His grandfather, Robert Blair, was the well-known author of 
The Grave, a morbid poem in blank verse published in 1743 and hailed with success. 
Master William Blair died in 1873. 


Canvas, 30 inches by 25 inches. Painted about 1814. 

Exhibited at the Raeburn Exhibition, Edinburgh, 1824; and at the National Gal- 
lery, Edinburgh, 1876, No. 240. 

Formerly in the collection of Miss Corne ia Bair at Scotstown, Peebles. 


Acquired from Sir JOSEPH DUVEEN. 












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EMMA, LADY HAMILTON 


BY 


GEORGE ROMNEY 


No. 29 


EMMA, LADY HAMILTON 


BY 


GEORGE ROMNEY 
(1734-1802) 


body directed towards the left and her eyes to the front. She wears a large 

straw hat trimmed with broad ribbon, a white band over her hat and under 
her chin. Her chin rests against the back of her left hand, with the fingers of her 
right hand touching her left elbow. 


LT iets eto length, seated in a chair, and dressed in white. Her 


Her father’s name was Lyon, and no satisfactory reason has ever been given 
for her adopting the name of Hart. Born, it is said, on 26 April, 1761, at Denhall, 
Chester, she was the only child of Henry Lyon, a blacksmith. While she was still 
but a child her mother moved to Hawarden; entering the service of Mrs. Thomas, 
wife of the Parish Doctor in 1774-5; Emma remained there until the age of 16. 
In 1781 she was living under the protection of Sir Henry Fetherstonhaugh. She 
placed herself under the protection of the Hon. Charles Greville in 1782. From 
then until 1786, as well as on her return to England in 1791, her name is frequently 
met with in connection with Romney. Befriended by Sir William Hamilton in — 
1786, she became his mistress; on 6 Sept., 1791, she was married to him. He died 
in 1803. Emma, from 1796, lived with and for Lord Nelson until his death at the 
Battle of Trafalgar in 1805. She in turn met her death at Calais 15 Jan., 1815. 


Canvas, 30 inches by 25 inches. Painted about 1792. 

This picture is, doubtless, to be identified with the ‘‘Three quarters in a straw hat, 
called ‘Emma’, finished for Mr. Crawford,’ which is mentioned in John Rom- 
ney’s Memoirs, page 181, and referred to in Romney’s Ledger as the “Three 
quarters, paid for by Mr. Crawford, 30 guineas, Sept. 17, 1792, and sent home 
to Mr. Crawford’s, No. 48, Brook Street, July 21, 1792.” 

Engraved by John Jones, George Zobel, E. Stamp and others. 

Exhibited at the Grafton Galleries, 1900, No. 49. 

Formerly in the collection of TANKERVILLE CHAMBERLAYNE, Esqg., and, later, of 
ALFRED C. DE ROTHSCHILD, Esq. 


Acquired from Sir JOSEPH DUVEEN. 


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LADY CAROLINE AND 
LADY ELIZABETH SPENCER 


BY 


GEORGE ROMNEY 


No. 30 


LADY CAROLINE AND 
LADY ELIZABETH SPENCER 


BY 


GEORGE ROMNEY 
(1734-1802 ) 


a red dress with a blue sash, a white lace fichu and apron; and a blue ribbon 

in her hair. She holds a crayon in her right hand and leans on a drawing 
board as she sketches a statuette that is placed, more towards the left, on a table in 
front of her. She turns her head towards Lady Elizabeth who, on the right, wears - 
a white muslin dress, and a ribbon in her hair. The latter, seated on a red uphol- — 
stered stool, is playing the harp. Architectural setting with a red curtain and, in 
the centre, a landscape background seen through a window. 


Te three-quarter length seated figures. Lady Caroline, on the left, wears 


Lady Caroline Spencer was the eldest daughter of George, Fourth Duke of 
Marlborough, K.G. (1739-1817) by his wife Caroline (Russell), only daughter of 
John, Fourth Duke of Bedford. Born 27 Oct., 1763, she married, 19 March, — 
1792, Henry, Second Viscount Clifden (1761-1836), and died, 23 Nov., 1813, 
having had issue. 


Lady Elizabeth Spencer, second daughter of the same marriage, was born 
20 Dec., 1764; she married, 6 Feb., 1790, her cousin John Spencer, Esq., son of 
Lord Charles Spencer; she died 11 Dec., 1812. 


Canvas, 5734 inches by 73) inches. Painted at different periods between 1786 and 
1792. Inscribed with the names of the sitters. 

Engraved by H. Greenhead under the title of ‘‘Beauty and the Arts’’. 

Exhibited at Burlington House, 1892, No. 141; at Berlin, 1908, No. 110, and in 
New York, 1914, No. to. 


Formerly in the collection of Henry, Fourth Viscount Clifden; and of CHARLES 
WERTHEIMER, Esq. 


Acquired from Sir JOSEPH DUVEEN. 








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GEORGIANA, DUCHESS OF 
DEVONSHIRE 


BY 


SIR JOSHUA REYNOLDS, P.R.A. 


No. 31 


GEORGIANA, DUCHESS OF 
DEVONSHIRE 


BY 


Sir JosHuA REYNOLDs, P.R.A. 
(1723-1792 ) 


steps, her right hand placed upon the balustrade, her left hand holding her 

dress at the side. Her hair is dressed high, and ornamented with pearls 
and grey and red feathers; a long curl touches her shoulder; her cream-coloured 
dress is cut low at the neck, and the skirt is fashioned with ample folds and pleats; 
a gauzy scarf surrounds her right arm and floats in the air below. A background 
of trees, with an open view of a park, and a statue at the left. 


Bs: length, standing to the right, facing left, at the top of a flight of stone 


Georgiana Cavendish, Duchess of Devonshire, eldest daughter of John, First 
Earl Spencer, was born 9 June, 1757. She married, in June, 1774, the Fifth Duke 
of Devonshire, who was regarded as the ‘‘first match” in England, and his wife 
became the reigning queen of society. Though entering with great zest into the 
fashionable amusements of the time, she possessed intellectual and moral character- 
istics of a kind which entitled her to be classed above the ordinary women of 
fashion. She delighted in the society of persons of talent, and numbered among 
her special friends, Walpole, Fox, Sheridan, Selwyn, and Dr. Johnson. She died 
at Devonshire House, Piccadilly, 30 March, 1806, and was buried in the family 
vault at St. Stephen’s Church, Derby. She left a son and two daughters. 


Canvas, 94 inches by 57 inches. 


Exhibited at the Royal Academy, 1776, No. 233; the British Institution, 1861, No. 
192; and at the International Exhibition, London, 1862, No. 76. 


Engraved by Valentine Green, 1780; Freeman, 1820; and S.W. Reynolds (S. Cousins, 
RA 1o7o. : 
Formerly in the collection of Eart Spencer, K. G., Althorp, Nottinghamshire. 


Acquired from Sir JOSEPH DUVEEN. 








CHARLES FREDERICK ABEL 


BY 


THOMAS GAINSBOROUGH, R.A. 


No. 32 
CHARLES FREDERICK ABEL 


BY 


THOMAS GAINSBOROUGH, R.A. 
(1727-1788 ) 


table on which he is writing music, his viol-de-gamba and bow resting 

against his left knee. On the table are a sheet of music-paper, upon which 
he writes, an inkwell, and a snuffbox on which his left hand is resting. His dress 
consists of a brown coat, with gold embroidered loop fastenings, a brown and gold 
waistcoat, a lace neckerchief and ruffles, white hose and black shoes. He is slightly 
turned to the right, looking straight before him. A white Pomeranian dog lies at 
his feet. There is a column on the left in the background, and a green curtain on 
the right. 


T= Composer is represented at full length, seated in an arm-chair, ata 


Charles Frederick Abel, the celebrated musician, was born in 1725. He received 
his first musical education from his father, and later studied at Leipzig, where he 
was probably the pupil of Bach. He was in the Court Band at Dresden, and in 
1759 he went to England and was appointed Chamber Musician to the Queen. 
He and Gainsborough were close friends, united by the common bond of a passion 
for music. He died 20 June, 1787. 


Canvas, 861% inches by 57 inches. Painted in 1777. 

Exhibited at the Royal Academy, 1777, No. 135; at Burlington House, 1894, No. 
104; New York, 1914, No. 4. 

Engraved on wood by Henry Wolf as a private print. 


Formerly in the collection of the Ear, or EGremont, Petworth, Sussex; CHARLES 
WERTHEIMER, Esg., London; and Georce J. Goutp, Esg., New York. 


Acquired from SiR JOSEPH DUVEEN. 











MRS. FRANCIS BURTON 


BY 


GEORGE ROMNEY 


No. 33 
MRS. FRANCIS BURTON 


BY 


GEORGE ROMNEY 
(1734-1802) 


She wears a white dress, with a deep frill, cut low at the neck, and with 

short sleeves. Her left arm rests against the edge of a table; in her right 
hand she holds a book. Her powdered hair is worn in loose curls on either side of 
the head and falls behind the shoulders. The background is a suggested land- 
scape, with a part of a red curtain at the upper right corner. 


H =: length, seated to right, nearly full face and looking at the observer. 


Mrs. Burton was the eldest daughter of N. Halhead, Esq., of Woodstock, 
Oxfordshire. In January, 1788, she married Francis Burton, Esq., the eminent 
lawyer, Recorder of Oxford and a King’s Counsel; appointed July, 1778, one of 
the Judges of Wales, and, July 1, 1788, puisne Judge of Chester; Member of Par- 
liament for Woodstock and Oxford in several parliaments; Father of the Benchers 
of Lincoln’s Inn; he died December, 1832, aged 89. Details of Mrs. Burton’s 
life are not available, neither is the date of her death. She lived with her husband 
at No. 15 Bloomsbury Square, London, and at Edworth, near Biggleswade, Bed- 
fordshire. 


Sittings for this picture took place on the following dates in the year 1789; 
March 21 and 27, April 27, May 5, 13 and 22, June 13, July 20 and 23, and October 
30. It was sent home on November 20, and on November 24 it was paid for by 
Mr. Burton. 


Canvas, 36 inches by 28 inches. Painted in 1789. 
Exhibited at Burlington House, 1885, No. 38. 


Formerly in the collections of Francis Burton, Esg., K.C., M.P.; G.G. Mairtanp, 
Eso., and C. W. ManseE.u Lewis, Esg., London. 


Acquired from Sir JOSEPH DUVEEN. 





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A VIEW ON THE STOUR, NEAR 
DEDHAM 


BY 


JOHN CONSTABLE, R.A. 


No. 34 


A VIEW ON THE STOUR, NEAR 
DEDHAM 


BY 


JoHN ConsTABLE, R.A. 
(1776-1837 ) 


IEW looking across meadows, through which the river is seen winding, with 

a church and village in the distance; in the foreground are three barges, 

two of them are being punted along, while the third, of which only a por- 

tion is seen, is moored to the bank, on which stands a grey horse; on the right, 

near a cottage, the river is crossed by a bridge, over which a woman with a child 

in her arms is passing; a barge is sailing along in the distance; an eel spear lies on 

the bank in the foreground; beyond are a boat, and a woman stooping at the water’s 
edge; blue sky with clouds. 


I have sent my large picture to the Academy. I never worked so hard be- 
fore. The composition is almost totally changed from what you saw. I have 
taken away the sail, and added another barge in the middle of the picture, with a 
principal figure, altered the group of trees, and made the bridge entire. The 
picture has now a rich centre and the right-hand side becomes only an accessory. 
I have endeavoured to paint with more delicacy.—CoNnsTABLE, 1m a letter to his 
friend, the Rev. John Fisher, nephew of the Bishop of Salisbury, dated 13 April, 1822. 


Canvas, 52 inches by 75 inches. Painted in 1822. 

Exhibited at the Royal Academy, London, 1822, No. 183; at Burlington House, 
1889, No. 197. 

Engraved by David Lucas in his “English Landscape Scenery,” 1855. 

Formerly in the collection of T. Horrocks Mixier, Esg., Poulton-le-Fielde, Lan- 
cashire. 


Acquired from Sir JoSEPH DUVEEN. 





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